Features and reviews
Discover the latest from the BFI, the UK’s lead organisation for film, television and the moving image.
60 years of Billy Liar: how the Bradford locations have changed today
Not everything is at it seems about the shooting locations for this classic story of a Yorkshire daydreamer.
By Adam Scovell
Why this Moroccan tailoring drama is a boost for queer culture in Africa and the Arab world
By Abiba Coulibaly
Ron Peck honoured as BFI Flare returns
By Ben Walters
How Saim Sadiq and Joyland beat the censors in Pakistan
By Sanam Maher
What to watch at Kinoteka Polish Film Festival 2023
By Alex Ramon
Why non-disabled audiences must play their part in ‘busting the bias’
By Lillian Crawford
Thelma and Louise on the road to freedom
By Manohla Dargis
Teaching about race with film: The Woman King
By Nikki De Beauville
The screen and the ballet: “Cinema is like a reservoir”
By H.L. Perkoff
Cocaine Bear, killer koalas and other screen beasts from folklore
By George Bass
Sunrise/sunset: Akira Kurosawa’s first and last films, Sanshiro Sugata and Madadayo
By Hayley Scanlon
Giggling beneath the waves: the uncosy world of Mike Leigh
By John Russell Taylor
What to watch at the BFI Future Film Festival 2023: the programmers’ picks
The Last Stage: a masterpiece of early Holocaust cinema
By Linda Mannheim
Body heat: the physicality of Channing Tatum
By Mark Cousins
Kurosawa in Siberia: how the master got his mojo back
By Derin Fadina
Escape artist: Lynne Ramsay’s Morvern Callar
By Linda Ruth Williams
In pictures: on set with Ingmar Bergman
By Sam Smith
How the Paris of Lift to the Scaffold looks today
By Adam Scovell
Stealing hearts: the ending of Trouble in Paradise
By Adrian Martin
Teaching about race with film: Iggy London’s poetic short Fatherhood
By Nikki De Beauville
Where to begin with Steven Spielberg
By Brogan Morris
The beautiful and the damned: the cinematic afterlife of Sharon Tate
By Erik Morse
High and Low: Kurosawa’s kidnapping procedural at 60
By Jasper Sharp
Frozen in time: the ending of The Breakfast Club
By Nikki Baughan
The Offence at 50: brutalism, Bracknell and Sidney Lumet’s dark police drama
By Adam Scovell
Island of lost souls: Mark Jenkin on Enys Men
By Roger Luckhurst
“A place of community”: Charlotte Wells on the Edinburgh Filmhouse
By Charlotte Wells